The designer's workspace : ultimate office design

2004·17.8 MB·English

by  Caywood, Douglas B

THE
DESIGNER’S WORKSPACE:
ULTIMATE OFFICE DESIGN
This Page Intentionally Left Blank
THE
DESIGNER’S
WORKSPACE:
ULTIMATE OFFICE DESIGN
Douglas B. Caywood, Associate AIA, CSI, CDT
ArchitecturalPress
AnimprintofElsevier
LinacreHouse,JordanHill,OxfordOX28DP
200WheelerRoad,BurlingtonMA01803
Firstpublished2004
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Table of Contents
Introduction
^
Part One: Small Firms (1 19 employees)
^
Part Two: Medium Sized Firms (20 49 employees)
Part Three: Large Firms (50 employees and larger)
Reality of Design Overview
Workspace Design Checklist
Design Approach
Where to Begin?
Restoration or Adaptive Reuse
Interior Design
Landscape Architecture
‘ ’
To Do Or Not To Do
After the Move ...
’ ^
Graphics for Today s Firm Lasting Impressions
Conclusion
v
small
firms archimania 01
Architects WellsKastner Schipper 02
AugustoQuijano Arquitectos 03
BlueSky Architecture 04
Randy Brown Architects 05
Bullock, Smith &Partners ^Nashville 06
Dasic Architects,Inc. 07
Elliott + Associates Architects 08
Gentile HollowayO’Mahoney & Associates 09
Joyce Signs 10
OdleandYoung Architects 11
Serrao Design/Architecture 12
Spiral Co., Ltd. 13
Watson Tate Savory Architects 14
medium
Wexler/Kollman 15
size firms Architecture Project 16
Ashton Raggatt McDougall ^ARM 17
BabeyMoulton Jue &Booth 18
The Berger Partnership 19
Bullock, Smith & Partners^Knoxville 20
Canizaro Cawthon Davis 21
CIVITAS,Inc. 22
EDAW, Inc. 23
Steven Ehrlich Architects 24
Everton Oglesby Askew Architects 25
Frederick Fisher andPartnersArchitects 26
Hans van Heeswijkarchitecten 27
HMC Architects 28
Lavallee/Brensinger Architects 29
Manasc Isaac Architects 30
McCarty Holsaple McCarty 31
NorrisDullea 32
Office of MichaelRosenfeld Architects 33
Semple Brown Design 34
TRO ^TheRitchie Organization 35
Tuck(cid:2)Hinton Architects 36
large
Witsell EvansRasco 37
firms BNIM Architects 38
Centerbrook Architects and Planners 39
D’Adda, Lorenzini,Vigorelli 40
Flad& Associates 41
Hassell 42
LandDesign 43
LooneyRicks Kiss Architects 44
Marc-MichaelsInterior Design 45
PAVLIKDesign Team 46
Pollard Thomas & Edwards Architects 47
RTKL 48
SWA 49
Zimmer GunsulFrasca 50
vi
Acknowledgements
From a mere idea stated during the programming
stage ofour ownofficestothereleaseof thefinal
manuscript, there have been so many individuals
and institutions I would like to thank for their
supportand/orencouragement.
Alison Yates and Elizabeth Whiting, for their
continued support and help in establishing the
contracts, approval of this endeavor, answering
of numerous questions, and reviews of material;
Ross/Fowler, P.C. ^ Charles Ross II, AIA and
Mike Fowler, ASLA, for their support and
establishment of the idea for this book during the
moveofourfirmtoanewlocation;KathyProctor,
FCSI, CDT, for a review from the academia
perspective; Andrew P. Powers, AIA, for a review
from an architectural perspective; Danielle Culp
Ross/FowlerLobby Mathews for a review from an interior design
perspective; contacts through the University of
Tennessee College of Architecture and Design;
Dean Marleen K. Davis at the University of
Tennessee College of Architecture for her
recommendations; David Smith, CDT for his
involvement in graphic layout; Mark DeKay, for
his advice from previous author/publisher
agreements; Christy Lane for her assistance in
mailings and firm correspondence; Jill Humberd
for assistance in reviewing the final proofs; my
parents, Donald and Nancy Caywood, for their
patience and support during 2002; my family
and friends for their continued encouragement;
and to a long list of those who gave
recommendations and provided submissions
throughoutthisbook.
Iwouldliketothankeachparticipatingfirmforthe
time,effort,andinformationthatyouhaveprovided
throughout this process. With minor editing, this
Ross/FowlerLargeConference book includes text and photo- graphy received
from each firm, including firm description and
Ross/FowlerGallery
concept statements. For layout and editing
purposes, original text from each firm may have
beenmanipulatedwithcarefulinterpretationsoas
to not change intent by each firm. Each firm was
given proofs for layout, text, and credits for their
approval.
And,inconclusion,Iwouldliketogivepraiseand
honor to God for the strength and time He has
given meto produce thispublication.
‘I can do all things through
Christ who strengthens me.’
Philippians4:13
Ross/FowlerStudioLayout Ross/FowlerSmallConference
vii
Introduction
Is there an ultimate layout for a design With many different goals present, this can
professional’s office? The likelihood of a presentacomplexdesignproblemforeachfirm.
the designer answering yes to this question is quite
designer’s high, but, with the variety ofdesign solutions to From the first impressions at the reception area
workspace follow, it is apparent that ‘ultimate’ takes on a and lobby, to the appeal of the meeting areas,
very individualisticmeaning for each firm. or the functionality and sleekness of the design
studio itself, the designer’s office can be quite
While working in a firm that made the decision unique in style, function, and character. This
thatwehadoutgrownthehistoricElybuildingin uniqueness is also exemplified as spaces and
downtown Knoxville, Tennessee, research design solutions vary from culture to culture.
began for a new location. What type of
building were we searching for? Was our Theimageryofadesignfirmbeginswiththefirst
intention to attempt an adaptive reuse or impressions a client has of the lobby and the
renovation? How much new space was reception area. First impressions are lasting
needed? What financial stipulations are impressionsandarehardtoovercome,thusthe
involved? What image will the new design impactofadesignfirmbeginsasaclientwalks
studio reveal about ourdesign philosophy? throughthedoor.Whoareyourclientsandhow
can you design for them?
These are only a sample of the questions that
ranthroughthemindsofthestaffofourfirm.As Is the firm’s graphic or logo prominently
the research and schematic design began, we positioned? Is the entry space unique to the
found numerous resourcesonoffice design, the firm? Is the lobby spacious? Is the firm’s image
at-home office, and various other offices for wellarticulated?Isitcutting-edgeortimeless?Is
ultimate different project types ^ what we did not find it lighthearted or serious-minded? This list could
office wasanextensivetechnicalandimageresource bequiteexhaustiveastheclientoranewrecruit
design that included only the offices of designers and stores mental images and perceptions of the
what differentiates a designer’s office from any designer and the work the firm is producing.
other type of office. Throughout the world, Are your clients very conservative or will they
architects and interior designers work each appreciatethefirm’sinnovativeuseofmaterials,
day on office designs for their clients. ‘The connections, lighting, etc? It is important for the
Designer’s Workspace: Ultimate Office firm to concentrate on who their target client
Design’ will begin to describe the unique audience may be now, as well asin the future.
attributes of a designer’s office and feature
various firms throughout the world and how Thisspacemayalsobeapreludetoanawards
they have solved the ‘ultimate office’ design or project display showcasing the firm’s
opportunity. recent achievements and/or current projects.
This aspect of a firm’s public area may be one
ElyBuilding
First,wemustdecidewhoistheclientforwhich of the key distinctions of a designer’s office, in
Knoxville,TN
our office is to be designed ^ our employees, contrast to a typical business’s lobby area,
ourclientsorourCPA?Doweuseourofficeto which may remain static. Designers are always
market our design talents? Do we create a designing^keeping ideas and images fresh.
space that can help our employees do their
job? In this case, should the goal be to inspire
the designer ^or be asefficient aspossible.
viii
This element of a design firm can be constantly longer a typical rectangular room with a table
evolving, as projects progress from the color andchairs,butadesigner’spalletteforcreative
rendering to the final photography of the communicationspaceaccommodatingvarieties
completed project, to an award received for of people for aperiodof time.
the design. Each firm can tell their life story in
very unique ways through these displays. Library ^ a collection of resource material?
Through the rest of this book, you will see a This term only begins to explain the varietiesof
large variety of ways in which projects are reference material, layout space and storage
displayed and how the firm’s space greets the capabilities for the resources included in a
visitor. designer’s office. In many typical offices, the
largest piece of correspondence may be an
Meeting areas are also unique as the 11x17 sheet of paper. For a designer, print
designer requires multiple forms of media for media can range from an 81 x 11 sheet to a
2 Reception
presentations. From a wall surface for drawingfourfeetwideandtwelvefeetinlength.
displaying large format drawings to a Storageofthesetypesofmediacanbeintegral
surround sound video presentation of an pieces of the design solution, as design firms
animation, meeting areas may take on many require quick access to large sets of drawings
different roles. Flexibility and hands-on-access whichrangeinsizefrom24"x36"to30"x42".
to various forms of media are key in a Various methods of storage-rolled, hanging, or
designer’s typical day. Not only are large format filing drawers^may be used.
conference rooms needed for client
presentations, but these rooms may also In a typical business, transmittals may be sent
facilitate design charettes within the office, withastack of folders, whereas inadesigner’s
large format layout reviews, business/ office,transmittalsmaycomeorgowithproduct
marketing meetings, videoconferencing with samples of large construction materials or
national and/or international affiliations, fixtures, large wall racks displaying color
consultant reviews, product presentations by selections, or even large mounted renderings.
vendors and manufacturers, cocktail or holiday With these media types, the layout spaces
parties, etc. In many cases, medium and large and the product and sample libraries Gallery
size firms require a variety of sizes of meeting become very important elements in a design
areas,rangingfromthetwopersoncritiquearea firm. Designers are constantly selecting and
to a presentation space for a new client with a specifying products, of which hands-on
board of directors numbering twenty or more. interaction with so many of these selections is
Layout, lighting, power, communications, and imperative. With a majority of products now
food/beverage serving area flexibility showcased on websites, the designer has the
differentiate a designer’s meeting area from a advantage of browsing through products and
typicalconferenceroom.Throughthefollowing colors, but for the final presentation to the
chapters, conference area creativity will be client, physical samples of colors, textures, and
evident, from the conference room with fixturesstillremainthemosteffectivesellingtool.
storefront windows to an area that opens up The storage and display areas for these
to the outside with a fourteen foot glass products tend to grow proportionally by size
garage door. The conference room is no of firm.
Meeting
Therealization‘...thatwewerebothclientsandthedesigners.’ DasicArchitects
ix